View source for New Orleans rhythm and blues

{{short description|Style of R&B music originating in New Orleans}}
{{Infobox music genre
| name              = New Orleans rhythm and blues
| other_names       =
| image             = AllenToussaintFreretStFestival2009DSBNOLA (cropped).jpg
| alt               =
| caption           = [[Allen Toussaint]], noted New Orleans rhythm and blues artist, at a festival in New Orleans, 2009
| stylistic_origins = {{hlist|[[Music of Louisiana|Louisiana music]]|[[rhythm and blues]]}}
| cultural_origins  = [[New Orleans]], United States
| other_topics      = * [[New Orleans blues]]
* [[Louisiana blues]]
}}
'''New Orleans rhythm and blues''' is a style of [[rhythm and blues]] that originated in [[New Orleans]]. It was a direct precursor to [[rock and roll]] and strongly influenced [[ska]]. Instrumentation typically includes drums, bass, piano, horns, electric guitar, and vocals. The style is characterized by syncopated "[[Second line (parades)|second line]]" rhythms, a strong backbeat, and soulful vocals. Artists such as [[Roy Brown (blues musician)|Roy Brown]], [[Dave Bartholomew]], and [[Fats Domino]] are representative of the New Orleans R&B sound.<ref name=":3">McKnight Mark, "Researching New Orleans Rhythm and Blues," ''Black Music Research Journal'' 8/1 (1988), p. 115</ref>

== Characteristics ==
New Orleans rhythm and blues can be characterized by predominant piano, "singing" horns, and call-and-response elements.<ref name=":2">Jason Berry, Jonathon Foose, and Tad Jones, ''Up From the Cradle of Jazz'' (Athens: [[University of Georgia Press]], 1986), p. 5, {{ISBN|9780820308548}}</ref> Clear influences of Kansas City Swing bands can be heard through the extensive use of trumpet and saxophone solos.<ref name=":0">Gérard Herzhaft, ''Encyclopedia of the Blues,'' trans. Brigette Debord (Fayetville: [[University of Arkansas Press]], 1997), p. 154, {{ISBN|978-1-55728-452-5}}</ref> A "double" bass line, when the guitar and bass play in unison, was combined with a strong backbeat to make the music easy to dance to.<ref name=":2" /> It is also common to hear the influence of Caribbean rhythms such as the [[Mambo (music)|mambo]], [[rhumba]], and the [[Calypso music|calypso]].<ref>Berry, Foose, and Jones, ''Up From the Cradle of Jazz,'' p. 20</ref>

In addition, the usage of [[blue note]]s is characteristic. Like most blues, New Orleans R&B typically follows a standard three-stanza form that contains tonic, subdominant, and dominant chords. Within these chords, the three "blue notes", also known as flatted notes, are the third, fifth, and seventh scale degrees. In New Orleans R&B, the flatted third is particularly notable.<ref>Berry, Foose, and Jones, ''Up From the Cradle of Jazz,'' p. 70</ref>

== Early pioneers ==
New Orleans rhythm and blues was pioneered by local barrelhouse pianists [[Champion Jack Dupree]], [[Archibald (musician)|Archibald]], and [[Professor Longhair]].

Professor Longhair, otherwise known as "Fess", was considerably influential in the development of the New Orleans R&B sound. [[Allen Toussaint]], an important figure in New Orleans R&B, described him as "The Bach of Rock 'n' Roll".<ref>John Broven, ''Rhythm and Blues in New Orleans'' (Gretna: Pelican, 1974), p. 4, {{ISBN|978-1455619511}}</ref> He combined Caribbean and [[boogie-woogie]] rhythms to create his signature style. The result was a usage of polyrhythms that he often whistled while playing.<ref name=":32">McKnight, "Researching New Orleans Rhythm and Blues," p. 115</ref> Although he was admired by other New Orleans musicians, he did not gain national attention until the end of his career.<ref>McKnight, "Researching New Orleans Rhythm and Blues," p. 117</ref>

During his early career, Longhair visited the Caldonia Inn to listen to Dave Bartholomew's band. When he sat in for Bartholomew's pianist, a large crowd suddenly flooded the venue. He then decided to start his own band called the Four Hairs combo. Soon after, the band recorded their first four tunes at the Hi-Hat club for the Star Talent Label. In 1950, Longhair worked briefly with Mercury Records and recorded "Bald Head". The song reached No.5 on ''Billboard's'' R&B chart. Due to financial complications, his work with Mercury was cut short. During the 1950s, he worked with Atlantic Records and recorded "[[Tipitina]]", which at the time was only a local hit, but today is recognized as a New Orleans R&B classic.<ref name=":1">Broven, ''Rhythm and Blues in New Orleans'', p. 7</ref>

=== Professors and barrelhouse pianists ===
There were two types of local pianists in New Orleans; "professor" pianists and "barrelhouse" pianists. Professors were often classically trained and understood music theory. They played in a variety of styles in the brothels of Storyville. Because they were more skilled, audiences expected them to play any request that was thrown their way. Notable "professor" pianists include [[Buddy Christian]], [[Clarence Williams (musician)|Clarence Williams]], [[Alton Purnell]], [[Spencer Williams]], and [[Jelly Roll Morton]]. Barrelhouse pianists were often untrained with little to no background in music theory. They were mostly self-taught and played mostly in a blues style. Barrelhouse pianists were considered semi-professional and played for drinks, food, or tips.<ref>Jeff Hannusch, ''I Hear You Knockin' '' (Ville Platte: Swallow, 1987), p. 3, {{ISBN|978-0961424503}}</ref>

== Popular artists ==
[[Roy Brown (blues musician)|Roy Brown]], [[Dave Bartholomew]], [[Paul Gayten]], [[Smiley Lewis]], [[Fats Domino]], [[Annie Laurie (musician)|Annie Laurie]], and [[Larry Darnell]] were the primary artists who achieved national fame.<ref>John Broven, "Appendix," in ''Rhythm and Blues in New Orleans'' (Gretna: Pelican, 1974), pp. 228-237</ref>

=== Roy Brown ===
[[File:Roy Brown publicity photo.jpg|thumb|upright|Roy Brown]]
[[Roy Brown (blues musician)|Roy Brown]] is considered to be one of the pioneers of the New Orleans Urban Blues as one of the first singers to blend elements of [[Gospel music|gospel]] into the blues. His "crying" sound became his signature.<ref>Hannusch, ''I Hear You Knockin' '', p. 71</ref> In March 1947, [[Cecil Gant]] heard Brown sing "[[Good Rocking Tonight|Good Rockin' Tonight]]" during a set break at a club called the [[Rainbow Room]]. Cecil enjoyed the song so much that he had Brown sing it over the phone for [[De Luxe Records]].<ref>Hannusch, ''I Hear You Knockin' '', p. 74</ref> Brown signed a contract with DeLuxe, and recorded the song at [[Cosimo Matassa|J&M Studio]]. "[[Good Rocking Tonight|Good Rockin' Tonight]]" was an immediate success in New Orleans, and reached the national charts about one year later.<ref>Broven, ''Rhythm and Blues in New Orleans'', p. 21</ref> It became his biggest hit, and was successful enough for Brown and his band "The Mighty Men" to tour across California and the southwestern United States.<ref>Herzhaft, ''Encyclopedia of the Blues'', p. 27</ref> "[[Good Rocking Tonight|Good Rockin' Tonight]]," made a reappearance in the charts in 1949 after DeLuxe was sold to [[King Records (United States)|King Records]], who did their best to promote it, something that was not easy because at the time the word "rock" was a slang for "sex", which many people believed the song implied.<ref name=":72">Broven, ''Rhythm and Blues in New Orleans'', p. 23</ref> In 1950, Brown climbed his way up the charts once again with his song "[[Hard Luck Blues]]". Other popular tunes by Roy Brown include "Boogie at Midnight", "Love Don't Love Nobody", "Long About Sundown", "Cadillac Baby", "[[Party Doll]]", "Let the Four Winds Blow", and "Saturday Night".<ref>Broven, ''Rhythm and Blues in New Orleans'', p. 24</ref>

=== Dave Bartholomew ===
[[File:Dave Bartholemew.jpg|thumb|upright|Dave Bartholomew]]
[[Dave Bartholomew]] was a bandleader and trumpet player. In the early stages of his career, between 1939 and 1942, he played on the SS ''Capitol'' riverboat with [[Fats Pichon]]. Toward the end of his residency, Pichon resigned to take a solo gig at the Old Absinthe House in New Orleans. Bartholomew took over the riverboat band until he was drafted in 1942. While serving in the army, he learned how to arrange music as a member of the 196th AGF band.<ref>Broven, ''Rhythm and Blues in New Orleans'', p. 19</ref> Upon discovering his passion for arranging and band leading, he was eager to return to New Orleans and make a name for himself.<ref>Broven, ''Rhythm and Blues in New Orleans'', p. 18</ref> In 1949, Bartholomew and his band recorded the hit song "Country Boy", while signed with DeLuxe. His true calling however, was to be involved with music production. He established himself as a band leader who arranged, produced, and scouted talent. During the 1950s, Bartholomew co-wrote most of the hits coming out of New Orleans.<ref>Herzhaft, ''Encyclopedia of the Blues'', pp. 154-155</ref>

=== Paul Gayten ===

[[Paul Gayten]] moved with his trio to New Orleans in his early twenties and established a residency at the Club Robin Hood. In 1947, his band recorded two R&B hits "True (You Don't Love Me)" and "[[Since I Fell for You]]" with singer [[Annie Laurie (musician)|Annie Laurie]] for DeLuxe. When [[De Luxe Records|DeLuxe Records]] was bought out by [[King Records (United States)|King Records]], the Braun brothers placed a new focus on Gayten's production skills. Soon after, he became the director for [[Chess Records]].<ref>Berry, Foose, and Jones, ''Up From the Cradle of Jazz'', p. 76</ref>

=== Smiley Lewis ===

Overton Amos Lemons, also known as [[Smiley Lewis]], was known for singing and playing guitar at nearly every venue in New Orleans early in his career. He had an extensive vocal range and a deep voice that could fill a room without any amplification. After the war, he formed a trio with Herman Seals and [[Tuts Washington]]. The trio became very popular locally. While scouting for talent, the Braun brothers were impressed by Smiley and signed him to DeLuxe in 1947. Three years later, he signed to [[Imperial Records]] whom he worked with for ten years. He found moderate success with his songs "[[I Hear You Knocking|I Hear You Knockin']]" and "The Bells Are Ringing".<ref name=":4">Broven, ''Rhythm and Blues in New Orleans'', p. 34</ref> He was overshadowed by [[Fats Domino]] who was also signed to Imperial and achieved national recognition for his cover of "I Hear You Knockin'".<ref>Berry, Foose, and  Jones, ''Up From the Cradle of Jazz'', pp. 72-74.</ref> [[Elvis Presley|Elvis Presley's]] hit "[[One Night (Elvis Presley song)|One Night]] (of Love)", was originally recorded by Lewis and was titled, "One Night (of Sin)". Similarly, [[The Gale Storm Show|Gale Storm's]] cover of "I Hear You Knockin'" made ''Billboard's'' Hot 100 Charts.<ref name=":4" />

=== Fats Domino ===
[[File:Fats Domino in Amsterdam 1962 (crop).jpg|thumb|upright|Fats Domino]]
In 1949, [[Dave Bartholomew]] and [[Lew Chudd]] visited the Hideaway Club to listen to [[Fats Domino]] sing. They were impressed with his version of "[[Junker Blues|Junkers Blues]]" and immediately signed him to [[Imperial Records]].<ref name=":5">Berry, Foose, and  Jones, ''Up From the Cradle of Jazz'', p. 34</ref> That same year, Domino did his first recording session at the [[Cosimo Matassa|J&M studio]] under the direction of [[Dave Bartholomew]]. Of the eight songs that were cut during the session, "[[The Fat Man (song)|The Fat Man]]" was chosen as Domino's first big hit. A distinguishing element of the R&B hit was Domino's horn-like [[scat singing]].<ref name=":5" />

Following the success of "The Fat Man", Domino toured with [[Jewel King]] and Dave Bartholomew's band. When his song "[[Goin' Home (Fats Domino song)|Goin' Home]]" reached number one in the R&B charts in 1952, his status as a star was confirmed.<ref name=":6">Broven, ''Rhythm and Blues in New Orleans'', p. 32</ref> The biggest hit of his career however, was "[[Blueberry Hill (song)|Blueberry Hill]]". Between the years of 1950 and 1955, he continued to make the R&B charts over a dozen times.<ref>Berry, Foose, and Jones, ''Up From the Cradle of Jazz'', p. 36</ref> In 1956, he was the first black artist to make an appearance on the [[The Steve Allen Show|Steve Allen Show]]. He would later make appearances on the [[Perry Como|Perry Como Show]], The Big Beat, and [[American Bandstand|Dick Clark's American Bandstand]].<ref>Berry, Foose, and Jones, ''Up From the Cradle of Jazz'', pp. 35-36</ref>

Domino's voice was a unique blend of [[Creole language|creole]] intonations, nasal [[scat singing]], and a warm tone.<ref name=":6" /> He was known for using [[Tuplet|triplet]] piano figures in many of his songs. The "New Orleans" sound is heard in his cover of [[Smiley Lewis]]'s "[[Blue Monday (Fats Domino song)|Blue Monday]]", with his combination of parade rhythms and barrelhouse blues.<ref>Rick Coleman, ''Blue Monday: Fats Domino and the Lost Dawn of Rock 'n' Roll'' (Boston: Da Capo, 2006), p. 8, {{ISBN|978-0306815317}}</ref> Fats Domino was described by Dave Bartholomew as the "cornerstone" of Rock 'n' Roll.<ref>Coleman, ''Blue Monday: Fats Domino and the Lost Dawn of Rock 'n' Roll'', p. XVI</ref>

== Notable record labels and producers ==
=== Cosimo Matassa ===

[[Cosimo Matassa]] was the leading record producer in New Orleans between 1940 and 1960. He created the "cosimo sound" with guitar, baritone saxophone, and tenor saxophone doubling the bass line. He also owned J&M Studio and Jazz City studio, where he recorded nearly all R&B hits in New Orleans between 1940-1960.<ref>Broven, ''Rhythm and Blues in New Orleans'', p. 13</ref>

=== DeLuxe Records ===
David and Julian Braun, also known as the Braun brothers, owned an independent record label called "[[De Luxe Records|DeLuxe]]" which was based in [[Linden, New Jersey]]. Seeing that New Orleans was overflowing with talent, they decided to visit the city in 1947 with hopes of signing some new artists.<ref>Broven, ''Rhythm and Blues in New Orleans'', p. 17</ref> DeLuxe signed [[Dave Bartholomew]], [[Paul Gayten]], [[Smiley Lewis]], [[Roy Brown (blues musician)|Roy Brown]], and [[Annie Laurie (musician)|Annie Laurie]]. In 1949 DeLuxe Records was bought out by [[Syd Nathan]], owner of [[King Records (United States)|King Records]].<ref name=":72"/>

=== Imperial Records ===
[[Lew Chudd]] founded [[Imperial Records]] in 1947. During its early years, the label centered around [[country music]] and west coast jump bands. Looking to expand his business, Chudd reached out to [[Dave Bartholomew]]. They decided that they would work together and explore the up-and-coming R&B scene. They recorded their first R&B studio session with Jewel King and [[Tommy Ridgley]] at J&M studio.<ref>Broven, ''Rhythm and Blues in New Orleans'', pp. 25-27</ref>

== References ==
{{Reflist}}

{{Rhythm and blues}}
{{Louisianarootsmusic}}

{{DEFAULTSORT:New Orleans rhythm and blues}}
[[Category:Blues music genres]]
[[Category:Music of New Orleans]]
[[Category:Music of Louisiana]]
[[Category:Rhythm and blues]]